Jazz |

The pianist Horace Silver, who passed away in 2014, continues to inspire contemporary generations. This is the very essence of this album. And while I often struggle with the vibraphone, I must confess that Eldad Tarmu’s vision of the master’s works has won me over this time.
Eldad Tarmu’s background speaks volumes: by studying percussion, he found a natural affinity for orchestral form and honed his jazz vibraphone skills under the tutelage of Dave Pike. His journey took him from Tel Aviv University in Israel back to the United States, where he embarked on international tours with various jazz ensembles, performing in festivals and concert halls across more than 25 countries, primarily in Europe and Asia. His debut album, Aluminum Forest, was released in 1997, followed by Get Up Close in 2001, which garnered critical acclaim.
What’s particularly delightful here is the inversion of roles—the piano’s traditional parts are now entrusted to the vibraphone. One can only imagine the complexity of the musical arrangements required to craft such a successful album. Yet, bravo! The two musicians accompanying Tarmu on this recording are equally remarkable—Marty Isenberg on double bass and Michael Shapira on drums. Their synergy underscores why Tarmu has collaborated with jazz luminaries such as Ron Affif, Ray Anderson, Mike Clark, Billy Higgins, Freddie Hubbard, Taj Mahal, Frank Morgan, Poncho Sanchez, Cybill Shepherd, and Ernie Watts, among others. After listening to this album, it’s clear we are witnessing one of the finest recordings of early 2025. If I were to recommend a single track to convince you, it would undoubtedly be Gregory Is Here.
In recent years, Eldad Tarmu has increasingly focused on original contemporary music for chamber ensembles and vibraphone, composing for string quartets, wind quintets, and piano works. His second chamber music album, Stained Glass Stories, was released in 2017 on his own label, Queen of Bohemia Productions, and subsequently in 2018 under 4Tay Records. This album, dedicated to his late mother, Galya Pillin-Tarmu—a painter born in Chicago—adds a deeply personal layer to his artistry.
Despite scouring the web, I deeply regret the paucity of jazz critiques since this album’s release on January 10. Here, we receive dozens of albums every month, and we make it a point to listen to each one carefully. When such a gem comes into our hands, it’s impossible to overlook. Instruments like the vibraphone or accordion often face skepticism in jazz circles, but when a project as successful as this one emerges, it becomes imperative to spotlight it. Beyond the impressive musical arrangements for this trio, this album offers an invaluable opportunity for young musicians interested in the vibraphone—a profound source of inspiration. It’s clear, then, that this album rightfully belongs in our “Essentials” category.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, January 26th 2025
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